It’s safe to say that we’ve been well and truly spoiled for choice this year when it comes to period dramas. Whether it’s Wuthering Heights, The Other Bennet Sister, The Forsytes or Little House On The Prairie, if you’re a fan of the genre, there are plenty of titles vying for a much-coveted spot on your watchlist. (Abby Allen)
This is no Wuthering Heights wild interpretation, but the film, directed by Georgia Oakley (Blue Jean), looks like it has more than a whiff of award season prestige – while also offering up a few surprises. (Tori Brazier)
Charli XCX, Wuthering HeightsCharli’s Wuthering Heights soundtrack sonically mirrors the film’s penchant for bodice-ripping bombast and grief while standing on its own. It’s often loud and discordant, filled with droning synths and screeching strings that underlie Charli’s digitally manipulated vocals. And yet, somehow the album manages to be as startling and satisfying as a clandestine carriage-house hook-up. Many of its highlights spring from the production styles crashing up against or bleeding into one another. The strings, arranged by Gareth Murphy, prove a welcome addition to Charli’s usual soundscape, bringing a wry grandeur to her hyper-pop instincts that anachronizes and cinematizes her music a la early Lana del Rey. In less than 90 seconds, the interlude “Open Up” nearly wordlessly evokes the fatalistic heartache forever embedded in the rock walls of Wuthering Heights—the kind of tragedy that feels both timeless and as pressing as ever. (Savio)
It started when she was working on the song “House,” for the Wuthering Heights soundtrack, and remembered Cale saying, in a documentary, that he wanted to make his strings sound “both elegant and brutal.” Given that she’d had a similar goal for “House,” she suddenly had an idea. “I thought, Do you think I could reach out to John Cale?” she says to host Bella Freud. “I started asking the question out loud, not sure what the answer would have been.” She found a way to get into contact with him, and they set up a call.Unfortunately, on the day of the chat, she forgot it was happening. “The day that we were supposed to speak, I was having a really bad day,” Charli recalled. “I was my very unregulated self.” In the midst of crying with her husband, George Daniel, she got a call. “I picked up the phone, and there was this voice on the end that was gravelly and deep and Welsh,” she said. “I was like, ‘Who is this?’” It was John Cale. “I was like, Oh my God, John Cale is calling me mid-breakdown,” Charli remembered. “I told him, ‘I’m having a bad day, John, but speaking to you on the phone is making me feel so much better.’” Clearly, it worked out. (Jason P. Frank)
Even the classics are getting explicit. Emerald Fennell’s Wuthering Heights (2026) wraps both Margot Robbie and Jacob Elordi in yearning, with BDSM scenes featuring one woman getting whipped in a horse bridle, another chained to the fireplace, crawling on all fours as a willing pet. None of this was in Emily Brontë’s book. Neither was the pink bedroom that we’re told it’s the exact colour of Cathy’s naked skin. (Kritika Kapoor)
Saturday, June 2714.00 h Wuthering Heights 19391939. 104 m. William Wyler. Park Circus. US. English. Rated NR.Laurence Olivier, Merle Oberon, David Niven, and Geraldine Fitzgerald star in William Wyler’s Academy Award-winning adaptation of Emily Bronte’s tale of passion, hatred, and revenge.Hailed as a “timeless masterpiece,” Wuthering Heights is the story of a tortured love affair between Heathcliff and Cathy, her escape by marriage to the wealthy Edgar and Heathcliff’s savage retaliation upon the woman he loves. Olivier portrays Heathcliff the jilted lover who bides his time before extracting his vicious vengeance; Oberon is Cathy, object of Heathcliff’s affections; Niven is Edgar, who steals Cathy from Heathcliff; and Fitzgerald is Isabella, Edgar’s sister who Heathcliff marries in an attempt to gain a measure of revenge.Wyler’s film was nominated for seven Academy Awards and won the Oscar for Best Cinematography.Join us after the film for a Q&A with Professor Deborah Lutz, author of This Dark Night – Emily Brontë, A Life, the new acclaimed biography of Emily Brontë. Copies of the book will be on sale courtesy of The Village Bookstore.
When Emily Brontë published Wuthering Heights in 1847, several critics used the word “strange.” As the New York Times’ B.D. McClay points out, one review simply began, “This is a strange book,” while others described the novel as “strangely original” and “a strange, inartistic story.”“Wuthering Heights is a strange sort of book—baffling all regular criticism; yet, it is impossible to begin and not finish it,” another observed. “We strongly recommend all our readers who love novelty to get this story, for we can promise them that they never have read anything like it before.”The novel’s first edition was divided into two volumes, released alongside a third volume containing Agnes Grey, a novel by Emily’s younger sister, Anne. Each one was covered with green-grey cloth, with arabesques and floral patterns decorating the cover. The siblings published under the pseudonyms Ellis and Acton Bell.Of the estimated 250 copies printed, only a few complete copies survive with their full-cloth binding intact. On June 30, Christie’s will sell the first edition’s three volumes in one lot at an auction in London, where the collection is expected to go for between $540,000 and $800,000.“The last time one appeared at auction was in 1908, so no collector alive has had a chance to acquire one,” Mark Wiltshire, a books and manuscripts specialist at Christie’s, tells the Art Newspaper’s Maev Kennedy. “Private and public collectors all over the world will want this book.”When Emily and Anne saw the printed editions, they realized that the books contained a numbllings of “Agnes Grey” (“Anges Grey”) and three misspellings of “Heights” (“Heer of errors. Some pages were marked with the wrong numbers, while others contained incorrect or missing punctuation. Perhaps the most egregious mistakes were six misspeghts”).In letters written in the weeks after publication, their sister Charlotte complained that the volumes were full of “errors of the press” that she described as “mortifying.” Writing under the pseudonym Currer Bell, Charlotte had published her own debut novel, Jane Eyre, earlier the same year, and it had been an immediate success. She was deeply protective of her younger sisters, and she was disappointed that their publisher, Thomas Cautley Newby, had allowed so many mistakes to make it to press. “If Mr. Newby always does business in this way,” she wrote, “few authors would like to have him for their publisher a second time.”Newby hoped to capitalize on the popularity of Jane Eyre, but Wuthering Heights, which explored darker themes, didn’t enjoy the same level of success. Readers were “shocked, disgusted, almost sickened by details of cruelty, inhumanity and the most diabolical hate and vengeance,” according to Douglas Jerrold’s Weekly Newspaper. North American Review criticized the novel, writing that “Nightmares and dreams, through which devils dance and wolves howl, make bad novels.”Wuthering Heights follows Catherine Earnshaw, a young girl who lives with her family in northern England, and Heathcliff, an orphan who grows up alongside them. The pair forms an inextricable bond that breeds misery across two generations. The story is set against the dramatic, untamed moors of Yorkshire—which is also where the Brontë siblings grew up. [...]Emily didn’t live to see her novel become so beloved, admired by the likes of Ernest Hemingway, Joan Didion and Virginia Woolf. “The impulse which urged her to create was not her own suffering or her own injuries,” Woolf wrote in 1925. “She looked out upon a world cleft into gigantic disorder and felt within her the power to unite it in a book.” The novel has inspired art, music and film, in addition to literature.“It remains a work that artists return to again and again because of its emotional force, its atmosphere and its psychological intensity,” Wiltshire tells the Associated Press’ Jill Lawless.Few surviving first-edition copies still have their original binding. Wiltshire has only been able to track down five others: Three are in the university libraries of Leeds, Oxford and Princeton universities, according to a statement, while the fourth is housed at the British Library in London. The fifth, which contains Charlotte’s annotations, is missing several pages, and it sold for $86,500 in 2009. (Ellen Wexler)
largely inspired by the wild beauty and dramatic landscapes of Top Withens and the Yorkshire moors that the Brontës capture in their work. (Laura Reid)
Zhiying ZhangThe Explicator, 1–10. https://doi.org/10.1080/00144940.2026.2680014 (2026)Charlotte Brontë's Villette (1853) is a novel profoundly concerned with the act of looking and being looked at. Vision in the novel is never neutral; rather, it is bound up with power, desire, moral judgment, and gendered discipline. In particular, the ekphrastic episode of the Cleopatra painting in Chapter XIX has elicited substantial critical commentary and functions as a focal point for discussions of gender, spectatorship, Orientalism, aesthetics, and narrative authority. (...)
‘Wuthering Heights’ by Emily BrontëWith more than 20 film and TV adaptations of Wuthering Heights, the classic story between Heathcliff and Catherine has been told in a number of ways—including a song by Nicks. While she was inspired to write “Wild Heart” after watching an adaptation of the story on the big screen, she’s been a fan of the books since her college days.“I first read Jane Eyre and Wuthering Heights when I was in college in California in the late 1960s,” Nicks shared. “They are two of my favorite books because they’re just so brilliantly written. The beauty of both these classics is that they were fantastic when I was a teenager and they still appeal to me now as a 63-year-old woman.”While those classic novels left a lasting impression on Nicks, literature wasn’t her only creative influence. Film also played a major role in shaping her songwriting. In fact, the singer has shared that seeing Wuthering Heights inspired her to write the title track for her 1983 album, Wild Heart.“I’d written “Wild Heart” early on,” Nicks recalled. “I remember singing it during a Rolling Stone cover shoot for Bella Donna [which came out in 1981] and I wrote it completely and utterly about the movie Wuthering Heights. I wrote it about Heathcliff and Cathy, and the fact that they were one person, that they couldn’t be together and they couldn’t be separate, and about the power and the drama of the closing death bed scene… All those amazing things he says to her.” (Julianne MacNeill)
Tell us about Possession from your perspective …Tonally, it’s Modern Gothic. A woman travels to a remote location. A foreboding ‘house on the hill‘. She has this vague feeling that something terrible is about to happen (spoiler – it does). It’s the same set-up as Jane Eyre, Dracula, or The Woman in Black, but it centres around the experience of a woman of colour in the present day. (Tamika Mitchell)
Alia Rehman, Hira Javed and Iram AyazLiberal Journal of Language & Literature Review, Vol. 4 No. 1 (2026)The paper discusses a thematic and psychological analysis of the notions of love and revenge in Emily Brontë’s Wuthering Heights, with particular attention to the figure of Heathcliff. It aims to study how intense frustrated love becomes transformed into destructive vengeance and the way such a vicious circle furthers violence, suffering, and ruination throughout generations. Qualitative research methodology is employed in this study because close textual reading and thematic analysis, as its tools, are necessary to trace causes, development, and consequences of revenge within the narrative. Analysis reveals that the vengeful behavior of Heathcliff originates from social alienation, class prejudice, childhood abuse, and emotional betrayal, mainly Catherine Earnshaw’s denigrating her emotional commitment for social status. The research further discusses an intriguing connection between obsessive love and revenge; it indicates how passion, when strangled by social mores, acts as a catalyst for cruelty and moral degeneration. Most importantly, this study suggests that Brontë had denounced revenge as a self-deprecating impulse, and how such a cycle of revenge is retarded in the second generation through mutual comprehension, forgiveness, and nourishing love. By placing revenge as the central thematic force of the novel, this research contributes to a deeper understanding of Wuthering Heights as a psychological and moral exploration of human passion, suffering, and the possibility of redemption.
The Newlands House Gallery in Petworth has collated works and personal artefacts to create a mesmerising exhibition, Paula Rego: Visions of English Literature, showing until 6th September. Paula Rego was one of the great printmakers and storytellers of our time and she took inspiration from a range of literary sources such as fairy tales, nursery rhymes, literary classics and folklore. This summer exhibition draws upon three of Paula’s major printmaking works: Nursery Rhymes, Peter Pan and Jane Eyre to illustrate her striking and unexpected portrayal of these well-known stories. Paula Rego: Visions of English Literature, 22nd May – 6th September
by Kit IfordRainbow GothicISBN-13 : 978-1919536934March 2026Romance for Boys is a 5 book series. Seven queer boys at a northern English university believe classic straight romance has nothing to do with modern queer love, so they form the Romance for Boys book club to pick apart Brontë, Shakespeare, du Maurier, Dickens and Austen, and end up in a dark‑academia, BL‑style tangle of intense first loves, aching unrequited crushes, messy love triangles and dangerous obsessions, slowly realising that the very stories they dismissed are shaping how they hurt each other, choose each other, and fight their way toward messy, hard‑won happy endings.Kit used to think great love stories were dangerous nonsense, until he found himself caught between two very different boys under the shadow of the Brontës. After a career-ending dance injury, he starts over at a northern university and falls into a world of moors, literature, and unexpected longing.Marcus is wild, intense, and impossible to ignore, the kind of hillwalker who drags Kit out onto the moors and into feelings he thought he had left behind. Gerald is careful, clever, and steady, offering warmth, safety, and the possibility of a future Kit never expected to want. As Kit and his friends study Jane Eyre and Wuthering Heights, their own lives begin to echo the Brontës’ worlds of desire, restraint, obsession, and self-respect.Book 1 is a queer campus coming-of-age romance with found family, hurt/comfort, disability and recovery, grumpy/sunshine tension, moorland gothic atmosphere, and lit-nerd drama for readers who love Wuthering Heights, Jane Eyre, and intense slow burns that turn friendship into love.
This Dark Night by Deborah LutzIn her lyrical new biography, Lutz shines light on the most enigmatic of the literary, secluded Brontë sisters: Emily. She was described as introverted, odd, guarded to the point of taciturnity, and her “extreme reserve seemed impenetrable,” said her friend Ellen Nussey. “Except to go to church or take a walk on the hills,” wrote her sister Charlotte, “she rarely crossed the threshold of home.” Lutz writes that Emily was indeed a knotty character of “devilish ferocity,” but she was also informed, engaged, even cosmopolitan in her reading and outlook.
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Speaker: Emma Conally-BarklemTuesday 23rd June, 6:30pmOnline Talk via ZoomJoin us for a fascinating journey through space and time as Emma discusses the process of creating an imagined world from one of the few details known about Emily Brontë. It is believed she rescued then kept a Merlin Hawk who she called Nero. Her bird of prey soars through history and the West Yorkshire landscape both quarry and predator. Conally-Barklem explores what it means to be captive and to be wild, the condition of the falconer, its lore and mystery through the enigmatic Brontë sister who stands both inside and outside of time.
Bella Swan lee 'Cumbres borrascosas', de Emily BrontëLa tímida e introvertida Bella Swan, protagonista de la saga Crepúsculo, fue vista leyendo 'Cumbres borrascosas'. La novela de Emily Brontë es un clásico de la literatura romántica, pero también una historia intensa, oscura y marcada por relaciones emocionales extremas. Justo lo que a ella le va a ocurrir en determinado momento con Edward.Bella no es una protagonista convencional: es introspectiva, emocional y profundamente entregada. Su conexión con 'Cumbres Borrascosas' refleja su tendencia a idealizar el amor absoluto, incluso cuando este implica sufrimiento o sacrificio. Al igual que Catherine, Bella está dispuesta a todo por ese vínculo que considera irrompible.'Jane Eyre', de Charlotte BrontëRachel Green lee 'Jane Eyre', de Charlotte BrontëLa novela de Charlotte Brontë es un relato de independencia femenina. Jane es una mujer que lucha por construir su propia identidad, tomar decisiones por sí misma y no depender de las expectativas sociales o de los hombres que la rodean.Esto tiene un claro paralelismo con Rachel. Al inicio de la serie, depende completamente de su entorno -especialmente en lo económico y emocional-, pero poco a poco construye una carrera, toma decisiones propias y redefine quién quiere ser. (Melissa González) (Translation)
There’s Helen in The Tenant of Wildfell Hall by Anne Brontë, who flees her husband to protect their son from his drunken ways; (Harley Freeman)
On Thursday, July 9, the focus shifts to The Bookery, with Amelia Blackwell bringing a lively blend of literary history and mystery with The Haunting of a Brontë. In conversation with Devon crime writer Stephanie Austin, this promises an engaging evening of humour, intrigue and gothic atmosphere, inspired by the enduring fascination of the Brontë sisters.
Jane Eyre by Charlotte BrontëLiterary observers have often connected Swift's song Mad Woman to themes found in Jane Eyre by Charlotte Brontë. The song's exploration of female anger, perception, and social judgment echoes ideas that appear throughout the classic novel. The connection becomes particularly striking through the character of Bertha Mason, the woman hidden away in Mr. Rochester's attic, whose story has long been discussed as a symbol of female suppression and misunderstood rage.
Wuthering Heights is, possibly, a good movie. To some, I believe it can be an enjoyable movie. It was not for me. Still, the costuming is avant-garde and fun, the cinematography is breathtaking, and the performances are captivating—none of these things can be taken away from the film because some bits made the audience squirm. However, Wuthering Heights, as directed by Emerald Fennell, fails to be an effective adaptation.Before much promotion was released about the film, it drew considerable controversy when Jacob Elordi was cast as Heathcliff, a main character. This drew significant criticism, largely from those familiar with the original book, as Heathcliff is a person of color in Brontë’s book. No character ever says, point blank, “Heathcliff, I hate you because you are a person of color.” It’s demanded by the plot and by Brontë for the reader to be aware that the young ward’s dubious birth and lack of capital aren’t helped by him being described as “dark-skinned” or “as dark almost as if it came from the devil.” The prejudice he faces becomes the catalyst for the abuse inflicted on him. It’s why he becomes monstrous in character: he has had otherness forced upon him. (...)Wuthering Heights (2026) explores themes of desire, obsession, self-destruction and love—no one will deny that. But even with CharliXCX on the soundtrack, it’s a hollow figurine of the original novel. Brontë’s work has inspired dozens of adaptations and will surely inspire dozens more, but there is a reason why audience members continue to gravitate to that story. Emerald Fennell’s work will not go down in history as worthless; the costuming and overt sexuality will likely delegate it to the realm of camp. But it will not be considered an accurate reflection of the 1847 novel. (Isabe, Papp)
Con este último protagonizó en 1992 una de las adaptaciones más recordadas de 'Cumbres borrascosas', basada en la novela de Emily Brontë. Mucho antes de que la nueva versión protagonizada por Jacob Elordi y Margot Robbie despertara la curiosidad del público, Binoche y Fiennes dieron vida a Catherine Earnshaw y Heathcliff en una película que destacó por la intensidad en las emociones de sus protagonistas y por una química que traspasaba la pantalla. En una época en la que las adaptaciones literarias de gran presupuesto no eran tan habituales como lo son hoy, aquella producción sorprendió por la pasión de sus protagonistas y por una visión especialmente oscura y romántica de la obra. (Álvaro Alonso De La Fuente) (Translation)
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by Alana SanchezISBN-13 : 979-8251483970March 2026The Brontë sisters have long been remembered as literary legends: three gifted women writing in isolation on the Yorkshire moors, surrounded by tragedy and myth. But behind that familiar image were three fiercely intelligent, determined, and ambitious writers who reshaped English literature forever.In this book, they're brought vividly back to life—not as distant icons, but as real women forged by grief, discipline, imagination, and extraordinary creative force. From the harsh realities of Haworth Parsonage to the publication of Jane Eyre, Wuthering Heights, and The Tenant of Wildfell Hall, this biography traces the triumphs, struggles, and heartbreaks that shaped one of literature’s most remarkable families.Rich in atmosphere and grounded in historical detail, this book explores the Brontës’ childhood losses, their secret literary worlds, their fight to publish under male pseudonyms, and the devastating succession of deaths that cut their lives so short. It is a story of resilience, genius, and the unyielding power of women’s voices.For readers who love classic literature, women’s history, and the enduring mystery of the Yorkshire moors, this is a compelling portrait of the sisters whose novels still haunt, challenge, and inspire generations.
A consultation on plans to build a large wind farm on moorland associated with the Brontë sisters has fallen "well short of standard", Bradford Council has said.Calderdale Energy Park (CEP) wants to install 34 turbines on Walshaw Moor, between Hebden Bridge and Haworth. Although the site lies within Calderdale, councillors said the impact on neighbouring Bradford would be "significant".Developers say the scheme could generate enough low‑carbon electricity to power about 198,000 homes a year.In its response to CEP the council said it had effectively been consulted "on an abstract concept rather than a transparent, scientifically robust infrastructure design".The South Pennine moors and the Pennine Way are closely associated with writers Charlotte, Emily and Anne Brontë, who were raised at the Haworth parsonage, now a museum, in the 1840s.CEP originally proposed up to 65 turbines on the land near Haworth, reducing the number to 41 in April 2025 and then to 34 in February 2026 after saying it had listened to residents' concerns.The plans have faced opposition from campaigners, including Josh Fenton-Glynn, Labour MP for Calder Valley, who fear damage to peatland habitats and the loss of moorland used by bird species.Bradford Council said it had not been adequately involved in the consultation, raising concerns about both environmental information and engagement.It argued that key details remained unclear, including proposals for a cabling corridor that could pass through Bradford if the project goes ahead.Councillors also criticised what they described as flaws in the assessment of the "globally significant" Brontë cultural landscape, warning of potential impacts on tourism, biodiversity and historic villages.The authority added it had not been included in meetings or technical working groups linked to the environmental impact assessment.CEP has previously said the turbines would not deter visitors to the moors.A spokesperson said the company had followed all legal requirements and extended the consultation period to encourage engagement, adding it remained committed to "constructive and ongoing engagement" with the council and other stakeholders. (John Greenwood and Andrew Barton)
“Instead of people coming to the National Gallery, the National Gallery is coming to the people and reminding them of their national collections because this is a public collection,” explains Dr Janine Sykes, Kirklees Council’s curator (Visual Arts). “Our gallery in Kirklees, the Huddersfield Art Gallery, closed in 2020 as part of a huge regeneration project, Our Cultural Heart, and won’t open until 2030, it is a whole generation without a gallery, so I responded to the National Gallery’s call-out. I immediately thought about Oakwell Hall because I know there are so many amazing stories and the history here – it is the oldest property in Kirklees Museums and Galleries.”To Janine’s delight, Oakwell Hall was selected as one of the destinations for the exhibition which has been curated to encapsulate links to the Bröntes (sic), through Caspar David Friedrich’s ‘Winter Landscape’ 1811, the hall and to Birstall, birthplace of the scientist and founder of Oxygen, Joseph Priestley.Interestingly, one of the paintings located here features the work of Joseph Wright’s ‘of Derby’ ‘An Experiment on a Bird in the Air Pump’ 1768 which, Janine explains, links perfectly with Priestley.“As we know Joseph Priestley discovered Oxygen and carbonated water and they knew each other through the Learned Society where they would meet to swap ideas on science, so it allows us to talk about the history of Birstall,” says Janine. “The Winter Landscape by Caspar David Friedrich was from the German Romantic Movement where nature was considered very powerful. All the Brönte [sic] siblings were artistic and their novels were all part of the literary British Romantic genre. I thought wouldn’t it be amazing to somehow link this place-based history to an exhibition with The National Gallery.” [...]“What is very distinct about ‘Art On Your Doorstep’ in Kirklees is I like people to hear different voices in interpretation. It reminds us that it is our collection and for us to enjoy, and it helps to raise awareness of the public collection.”Near the old railway bridge where trains once trundled along the Leeds New Line linking Birstall to Leeds and London before its closure during the Beeching era, is Joseph Mallord William Turner’s ‘Rain, Steam and Speed – The Great Western Railway’ 1844. Janine says it encourages viewers to imagine Birstall in the industrial era.“There was a lot of wealth here. When you look at Oakwell Hall it was connected to wealth. A lot of Charlotte Brontë’s friends were middle class from textiles and industry. The wider industrial connection was the railway. There was a lot of freight, whether textiles or coal, and it reminds us of the industrial past. [...]Special events planned over the summer include fun science sessions for children, a family art club and, on July 25, Janine and Programme Officer, Samuel Harrison from the Brönte (sic) Society & Brontë Parsonage Museum, will host a special tour.“There is something for everyone. Whether you are interested in engineering, there is the industrial past, there are national and global literary connections with the Bröntes (sic), there are some amazing role models. There are different stories and we are making it part of the paintings and about the place,” says Janine. (Sally Clifford)
The first episode of the fourth season of the Behind the Glass podcast is already available: Welcome to series 4 of the Brontë Parsonage Museum's podcast Behind The Glass! For our first episode, Programme Officer Sam and Digital Engagement Officer Mia are joined by writer and scholar Deborah Lutz, to celebrate the publication of her new biography This Dark Night: The Life of Emily Brontë. Listen in as Deborah tells us about her research process and trying to unpick some mysteries behind one of the greatest and fiercest writers...
This Dark Night: The Life of Emily Brontë, Deborah LutzBloomsbury, £20The first comprehensive biography of Emily Brontë in over two decades, by an expert in Victorian literature. From its Proustian opening sentence, to her subject’s death bed at the age of 30, this is a captivating, feeling account of the most enigmatic of the Brontë family. By putting Emily and Wuthering Heights into a historical and political context and drawing closely on her writing, Deborah Lutz illuminates her intriguing personality and wildfire imagination. As Lutz tells us, it took Emily two years to write her masterpiece, and a further 100 for the world to begin to fathom it. That process continues with this biography. (Rosemary Goring)
MRC has established itself as a champion of innovative filmmakers like Edgar Wright, Emerald Fennell and Chloe Domont. But the movies these auteurs deliver defy categorization and that presents its own challenges.“A lot of the movies we make don’t have a lot of obvious comps so they tend to be very difficult for the marketplace to properly evaluate,” admits Brye Adler, MRC’s co-president of film. “Something like ‘Wuthering Heights‘ is an R-rated period romantic drama, but describing it like that doesn’t reflect its potential to be distinctive, which is why it worked. Or you can’t put ‘Cruel Intentions’ and ‘The Talented Mr. Ripley in the same category, but that’s what ‘Saltburn’ is. The system does not compute what we make.” (Brent Lang)
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Presented by Youth Opportunities for the Artsby Jordi MandFri Jun19, 700pnSat June 20, 2pmSun June 21, 2pmSt. John's United Church & Brockville Arts Hub, 32 Park St, Brockville, ON K6V 1B3, CanadaProudly presented by Youth Opportunities for the Arts, Jori Mand’s, Brontë: The World Without is a haunting, emotionally layered stage play that imagines the inner lives and shared creative spirit of the famous Brontë siblings—Charlotte Brontë, Emily Brontë, and Anne Brontë—as they navigate grief, isolation, and the fierce need to create.Set within the confines of the Brontë family home on the Yorkshire moors, the play moves fluidly between reality and imagination. The sisters, along with their brother Branwell Brontë, conjure vivid fantasy worlds as both escape and expression—worlds that begin to blur with their lived experiences. Their stories and characters seep into their daily lives, reflecting their desires, frustrations, and unspoken fears.As illness and loss encroach, the siblings confront the fragility of their ambitions and the limits imposed on them by society and circumstance. The “world without” becomes a poignant metaphor—suggesting both the external world they long to explore and the internal worlds they risk losing.Through poetic dialogue and shifting timelines, the play explores themes of artistic legacy, sibling bonds, and the cost of imagination. It ultimately asks what remains when the creators are gone—and whether the worlds they built can outlive them.
Further information in Brockville Daily.
Friday 19th June 2026, 6:30pmBrontë Birthplace Tearoom, 72-74 Market Street, Thornton, BD13 3HFStep into the candlelit quiet of the Brontë Birthplace for an evening that blends creativity, history, and a touch of old-world intrigue. In this special Verse & Sip workshop, guests are invited into the intimate world of historic correspondence. Beginning with an introduction to letterlocking, a centuries-old practice of folding and securing letters before the use of envelopes, guests will discover how messages were once carefully constructed, protected, and imbued with meaning through folding techniques and wax seals. We’ll explore historic examples, including the method famously used by Mary, Queen of Scots for her final letter, before arriving at Victorian-era practices, such as those used by the Brontës.Guests will then enjoy a hands‑on session of writing, folding, and sealing their own letters, guided in the very rooms where the Brontë siblings first opened their eyes to the world. The atmospheric setting of their birthplace adds a unique depth to the experience, inviting visitors to slow down, savour the moment, and rediscover the pleasure of written correspondence.Verse & Sip is a celebration of slow correspondence, a space where creativity and connection meet. Through events, workshops, and a monthly snail mail club, we invite you to rediscover the beauty of sending and receiving meaningful post. Verse & Sip is open to individuals from all backgrounds. We are committed to fostering a supportive, inclusive, and welcoming environment where everyone feels encouraged to create and share. In a digital age, we believe there is still something powerful about paper and ink. We’re so glad you’re here to be part of it!
They all have their different reasons, but their responses, including some officially submitted to the statutory consultation organised by Calderdale Energy Park, are clear in their opposition to the proposals.Calderdale Energy Park plans to put 34 giant wind turbines on Walshaw Moor, which is located between Hebden Bridge and Haworth, the village associated with the Brontë sisters. [...]Keighley and Ilkley Conservative MP Robbie Moore has long opposed the proposals and has lodged a ten-page document with the consultation outlining his concerns.“To make it clear, I’m not against renewable energy and understand the important role it plays in our energy mix.“But I cannot simply stand by to see the construction of wind turbines being installed and constructed on protected peatland and on world-renowned heritage landscapes such as Walshaw Moor, which is the beating heart of Brontë country.“This scheme will have lasting effects on our community, our landscape and environment.“On paper, it sounds like a triumph for renewable energy, but in reality, it is anything but,” he said.Mr Moore said he did not relish the prospect of 34 200-metre high turbines – “roughly twice the height of Big Ben” – and said his objection latter raised “grave concerns.”“It harms our environment, our ecology, our wildlife and our bird population.“It harms our precious peatland, our peat bogs and its carbon storage potential, it harms our heritage, our landscape, and our communities and neighbours,” he said.Mr Moore has long-pressured fellow West Yorkshire and Lancashire MPs to come out in opposition to the proposals.After considering his response carefully, Calder Valley Labour MP Josh Fenton-Glynn, in whose constituency the project would be sited, has done.Mr Fenton-Glynn has always argued that the issues need careful consideration rather than immediate opposition, but says the science has led him to oppose Calderdale Energy Park in his response.“I continue to have concerns about the impact of the Calderdale Energy Park on peat.“I believe in net zero but I don’t think we get there by damaging carbon stores.“Peatland is our Amazon rainforest and we should follow the science and protect it.“That is why I have stated my opposition in response to the consultation,” he said on his social media pages.Hebden Bridge and Todmorden East councillors from different parties have also responded in the negative.Green Party and Labour politicians have been pressed for their view, and have now given it.Councillor Hannah Mickleburgh-Benn (Green, Hebden Bridge and Todmorden East) is opposing the proposals in her consultation response.“I remain – based on the most recent updated information provided by Calderdale Energy Park – strongly opposed to the Walshaw Moor wind farm proposal,” she said.This is because the provided literature does not provide information on key parts of the construction and decommission in order to form a complete opinion on the environmental and ecological effects, she said.In her response she asks dozens of questions of the company on a range of aspects of the proposal.These include concerns about the impact on peatland, challenging assertions that the wider region and this site in particular is among the best for siting wind power, questioning its operational capacity and predicted carbon savings, assessment of flood risk potential impacts, and questions about the proposed cabling arrangements.Coun Mickleburgh-Benn said in her consultation response: “Besides the implausibility of restoring a peat bog that’s been upearthed and in storage for up to 35 years, leaving turbine bases and roads on the site could have a legacy of negative impact for local ecology.”And Labour’s Coun Sarah Courtney has said: “I am aware that we absolutely need to be supporting sustainable energy production, and that it is important that we are not NIMBYs and embrace opportunities for our area to contribute to renewable electricity production.“However, having read information available, the scientific evidence in terms of water and peat, appears to indicate that this moor may not be the right site for these turbines.”Calderdale Council’s ruling Reform UK group have long been clear in their opposition to the scheme.“We will fight to scrap Net Zero, protect our countryside, and put local people before profiteers.” (John Greenwood)
Based on the book by Janice Hadlow, “The Other Bennet Sister” retells Jane Austen‘s “Pride and Prejudice” from the viewpoint of overlooked Mary. Surprisingly, Ella had never read the Austen novel before she landed the part. “It’s mad, isn’t it?’ she laughs. “But I’m from North Yorkshire and I just thought Jane Austen wasn’t a writer for me. She was more for posh southern people. I used to read loads of Brontë because that was the world I was from.” (Simon Button)
The fair also marks the debut of two new releases: I Hide Myself within My Flowers, a commemorative poetry collection published to mark the 140th anniversary of American poet Emily Dickinson's death, and a deluxe gilt-edged hardcover edition of Emily Bronte's classic novel Wuthering Heights. (Xing Wen)
Thursday, 18 JuneIn-person, 2pm, Free with entry to the Museum and for residents in BD20, BD21 and BD22Brontë Space at the Old School RoomOnline, 7:30pmDuring her lifetime and through the subsequent years, Anne has been seen as the baby of the family, and her legacy has too often been overlooked and in the shadow of her siblings. However, her qualities are now increasingly appreciated by new generations of Brontë fans. This talk will explore those qualities and her courage to shine attention on often controversial subjects through her work, no matter the consequences to herself.
The award marks a significant achievement for the site, which only opened to the public in May 2025.General manager Anna Gibson said: "This recognition means a huge amount to us."As a small, volunteer-led project, to be ranked alongside some of the world’s most visited attractions is both humbling and incredibly exciting."It reflects the passion of our team and, most importantly, the support of every single visitor who has taken the time to experience the Birthplace and share their feedback."The Brontë Birthplace, the first home of the famous literary siblings, has been carefully restored to offer an intimate and authentic visitor experience. (Francis Redwood)
